Having seen many Helgi Tomasson ballets, I can say without doubt that “7 for Eight” is my absolute favorite. His neo-classical treatment of the ballet lexicon provides spectacle, beauty and artistry and his creative partnering (lifts and balances) speaks to the limitless promise of two bodies moving together in space. Sarah Van Patten's turns into arabesque and her developpé in second perfectly punctuated Bach's polyphonic music. Her promenade in the ballet's sixth movement was as quiet and exact as the trilling mordent that accompanied her. “7 For Eight” is a special piece; it defines Tomasson as a choreographic genius.

Delighted gasps filled the War Memorial Opera House as Wayne McGregor's “Chroma” opened to reveal a brightly lit stark white stage (floor and walls). McGregor has composed a work that brings the brilliant combination of future and past to life through dance. The setting was forward- thinking (modern minimalism meets a futuristic video game) while the movements looked back to 1970s/1980s jazz and modern (at times, very sexualized). The choreography was a completely different feel than the design, but the two worked together in harmony. This piece also showed a different side of Yuan Yuan Tan – her first sequence revealed the freedom, flexibility and expression that she has in her torso. So often, the focus is on her feet and extensions; what a treat to see other aspects of her dancing highlighted.